Frank Wakefield, Mandolinist Extraordinaire: Final Part 4
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T: One last question before I let you go. With getting in touch and playing with guys like Ronnie McCoury and these young lions that are up and coming, would you say that the bluegrass scene and the music is in good hands? Is the future of the genre secure? F: Yeah, I think so. I forgot about Ronnie McCoury when he started playing me some stuff I said, "That sounds familiar. Boy that's really nice." I said, "Boy, where'd you learn that?" And he said "You taught it to me!" I forgot about doing that when he was about 14 or 15. And when they showed me a picture of him with my mandolin when he was three years old you know I couldn't believe it. Boy I must be getting young. And I forgotten, but I've started playing some of that stuff he reminded me I taught him. And that's really, really something. He's a real good mandolin player. T: So I assume you spent some time in the past playing with Del (McCoury)? F: Uh huh. Right.
T: I had a chance to interview him last month. His band's doing a bang-up job and I just hope the same for you. Don't ever stop doing what you do so well. F: Yup, Del is an awful nice person too. Isn't he? T: That's for sure... F: Yeah, he's the same as Jesse McReynolds. He's as humble as me. (Laughs) T: Well we've got to get you out here for some summer festivals. I know you don't like to travel too much and I know you're doing Indiana but it would be good to see you in Grass Valley or … F: That would be nice as long as I was on an airplane it's ok 'cause I wouldn't want to ride a train or anything, or a car out this far. When you get young, see, you decide… Monroe, see, he rode all the time. I don't think he enjoyed ridingan airplane like me.
F: Yup. In fact the first record Lamar ever did was with me. T: Right. David tells stories in concert about sitting on the bus next to Bill. And how Bill would ignore everybody on the bus except David. And how he'd give him candy and make him feel likepart of the band. F: Right yeah. I wouldn't be surprised. I remember Bill's grandson. I wonder why Bill didn't want to teach him to play like him? He was on the bus and he asked me if I could teach him and I said I could if I'm around. And I said that I have a lesson tape that will make you really good and show you how to play like your grandfather. But I guess Bill didn't have the patience like I do to teach people? So he wanted me to teach to play like his grandfather.I don't know if he's learned to play yet? This was about a year before Bill died. T: Well I'd say it's a pretty tough instrument to teach because when you get to your level of skill there's a lot of fast picking going on. F: Yeah, that's true. T: That right hand moves pretty quickly. In a sense... your state of mind, your "backing talkwards" mentality kind of applies to your left hand too because you can take those riffs and just flip them over sometimes and get some pop-eyed looks out of your audience. F: Right. (Laughs) That's something, ain't it? T: Does that audience feedback really drive you? F: Yeah, that sure carries a lot of weight. It really does. T: That 'fifth element' in any performance is how much the audience really appreciates what you're doing. F: Yeah, some people can really hear notes, not all of them. I guess people who go to hear jazz… I don't know if I can play any of that or not? But you know when they play just all notes? And most people who go to hear that, they just like music period. They just like to hear notes even if they are good, bad or what. And that's good. But usually an audience that comes when we play, they actually have a good ear you know? And they can tell if you are playing something nice. But sometimes… I remember when I used to play those big shows in New York, the TV shows and stuff, I had tell them I was the world's greatest mandolin player. At that time I'd say that and that would help me get on some of those big network shows. You know where I'd play the mandolin by itself and do stuff like with Joan Baez and the Everly's and stuff, the Everly Brothers. And I'd always do a couple of solos on the mandolin. And I'd tell them the reason I would say that and bragged on myself is I wouldn't make no mistake. I'd be embarrassed to death. So an audience really appreciates that. I don't mean to be bragging on myself when I say that. But it makes my play… it makes me realize I dare not to make no mistakes. And when you do stuff like that and when I play a solo to the audience they really appreciate it to hear you play it clean and clear you know?
T: Yes F: Or they understand what you're doing and not play too much over their heads? T: Not to mention the fact that its just not an easy thing to do. F: Boy, ain't that the truth! T: Yeah, this is no simple tool you've got in your hands there. F: Right. People used to say to me years ago when I'd do that at a bluegrass festival, they'd say "Lord, don't you get up there by yourself or they'll laugh you out of town." But when they seen that it worked, 'cause Ithink I was the first person started playing the mandolin just by itself at those shows. And once you get to doing it then everybody else realizes, hell, let that instrument be heard. T: Well I would say that's a true testament of yourskill because in a lot of peoples hands the solo mandolin showcases the worst elements of the instrument. F: Yeah. T: You know there's a brittle aspect of it. And if you can get up there and do it alone and have an effect on your audience where they feel warmth and not just the brashness you're really doing something right. F: You are a wise man Ted. How old are you? T: I'm 35. F: How'd you know so much to be just 35? (Laughter) T: Well,I've been playing music for about 25 of those 35 years. F: Well I guess that accounts for it then? T: Yup. F: 'Cause that's exactly the way it is the way you said it there. T: Well I really appreciate you taking the time to chat with me, Frank. F: Yeah, I'm looking forward to seeing you. T: Well I will certainly come by tonight and say hello. F: Yeah, come on in the back, you know the way in. T: Please than Jim for his help and I will see you this evening. F: Okay. Thank me for calling by. T: Thanks very much now. F: Hello.
T: Hello (Chuckling)
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By Ted Silverman
T:
Right. I've heard stories from David Grier. I think his pop was a Lamar
Grier.
